| 09 December, 2013 06:40
I recently received a painting back from a show that was smashed. I had wrapped it well but, somehow the package had become a bag of jingling shards. It made me wonder, did it break on the way there or on the way home? Did it even make it into the competition?
Shipping with glass is a pain but, the only thing worse is replacing glass for a no glass show. I just removed five pieces of museum glass from my paintings to replace it with plexiglass. This is $200 worth of extremely sensitive glass to store until they return. I hope the glass makes it! I know that they make museum plexiglass but, I want a better and more affordable solution. I want to have colored pencil paintings that are without glass entirely and are archival.
When the student is ready the teacher(s) will come. The first article that I found was a demo that shows how paper can be mounted to clayboard. I ordered the same double stick tack that was used in the demo. When I got it, it didn’t say archival on the package though it said it in the item description. Someone posed a similar question about mounting paper to a rigid surface on Colored Pencil Lovers on Facebook. Mike Menasco, a framer and artist, from Minneapolis, Minnesota began answering questions that were the exact answers I had been looking for. I think that thread has well over 100 comments. After a few sour comments from others, I befriended Mike and we continued the conversation. Here is my account of what he told me.
- Mike said that paper should never be permanently applied to a rigid surface if you want it to be archival. I then spoke to my friend who is an art teacher and her comment was that ‘if you watch the Antiques Road Show, someone will have a poster that is permanently adhered to a surface and because of that their treasure isn’t worth anything’. Mike also said that if you had to, maybe four small dots of a framer’s glue, in the corners, would be a better solution.
- The tack that is in the double stick tack will eventually revert to acid. Spray adhesives are acidic and not archival. If you have to glue your art to a rigid surface then Elmer’s or some of the framers glues would be better (Not good just better).
- Mike recommended that I buy a Bainbridge or Crescent 4 ply or 8 ply museum board and use that. He said that it needed to be framed to the edges of my art. This of course includes layers of UV varnish over the art. The aerosol UV varnish, was okay to use. He said that museum glass is always a better solution so maybe I could put a note on the back that says something like for optimal protection of the work please reframe with museum glass. The foam backing that is installed by the framers would be adequate to support the museum board in the frame.
- Another problem that was addressed was hinging paintings on paper to the mats. I have a pile of paintings that I need to take apart and redo the hinge tape because the painting has shifted. My solution for the future is to leave 2 ¾” of paper all around my paintings (On paper) so that it fits the frame behind the mats. This also gives me a margin to put a year and what number of painting it is.
The solution for me is that I will continue to add museum glass to all of my paintings on paper. I will also create a large share of my future paintings (especially larger ones) on museum quality mat board.